Michael Flier - Academia.edu (original) (raw)
Papers by Michael Flier
Slavica eBooks, Nov 29, 2023
На превосходство царства над священством указывает и расположение персонажей: так, если изображен... more На превосходство царства над священством указывает и расположение персонажей: так, если изображения святителей помещены внизу, у корня древа, то медальоны с портретами царей представлены выше, ближе к Христу…. 1 Образ дерева с Владимирской иконой означает не Премудрость и не святое Московское царство, а историю-укоренение, становление и расцветаниемосковской церкви. 2 Elena Saenkova and Sof´ia Sverdlova (2015) Maria Pliukhanova (2005) The State Tret´iakov Gallery in Moscow mounted an exhibition in 2015 devoted to the work of Simon Ushakov (1626-86), arguably the most illustrious icon painter of seventeenth-century Muscovy. 3 While gathering and preparing his most important works for display, the Gallery staff restored and cleaned one of his most famous and enigmatic icons, "The Icon of the Vladimir Mother of God, with Muscovite Saints," originally dated to 1668, but now 1 "The arrangement of the personages indicates the superiority of the tsardom over the priesthood as well; thus, if the representations of the prelates are positioned below, by the root of the tree, then the medallions with the portraits of the tsars are displayed higher, closer to Christ….
Russian Linguistics, Feb 1, 1980
Ikon, 2016
The Baptism of Christ in its Early Christian representations is rendered with a naked Christ imme... more The Baptism of Christ in its Early Christian representations is rendered with a naked Christ immersed in the waters of the Jordan River with John the Forerunner and attending angels present. In Eastern Christian tradition this representation perseveres until the late 13 th century, when a girded Christ appears in images at Mt. Athos and becomes dominant in Balkan iconography. The girded Christ makes its way to Rus, but aside from some rare frescoes in Novgorod actually ascribed to Serbian artists, the girded Christ is apparently limited to Moscow and its environs. This study attempts to account for the emergence of the girded Christ in Orthodox iconography and to account for its singular distribution in Muscovite Rus.
University of California Press eBooks, Dec 31, 1990
Cambridge University Press eBooks, Sep 14, 2006
Routledge eBooks, Feb 23, 2023
Slavic and East European Journal, 1985
Slavic and East European Journal, 1996
Slavic Review, Sep 1, 1970
Canadian-American Slavic studies =, 2015
The reign of Grand Prince Ivan iii (1462-1505) represented a period of wide-ranging consolidation... more The reign of Grand Prince Ivan iii (1462-1505) represented a period of wide-ranging consolidation of Rusian lands under the aegis of Moscow at the very time that elites were concerned about the Orthodox Christian prediction of an imminent Apocalypse in 1492. The semiotics of Muscovite rulership incorporated references to Jerusalem and the End Times long after the predicted date had passed. The present study analyzes the elements and relationships employed in iconography, architecture, and ritual to reevaluate the capital in light of Jerusalem old and new.
Russian Linguistics, Dec 1, 1974
ABSTRACT Without Abstract
Slavic and East European Journal, 1985
Yale University Press eBooks, Dec 31, 2017
De Gruyter eBooks, Dec 31, 1974
De Gruyter eBooks, Dec 31, 1974
Slavica eBooks, Nov 29, 2023
На превосходство царства над священством указывает и расположение персонажей: так, если изображен... more На превосходство царства над священством указывает и расположение персонажей: так, если изображения святителей помещены внизу, у корня древа, то медальоны с портретами царей представлены выше, ближе к Христу…. 1 Образ дерева с Владимирской иконой означает не Премудрость и не святое Московское царство, а историю-укоренение, становление и расцветаниемосковской церкви. 2 Elena Saenkova and Sof´ia Sverdlova (2015) Maria Pliukhanova (2005) The State Tret´iakov Gallery in Moscow mounted an exhibition in 2015 devoted to the work of Simon Ushakov (1626-86), arguably the most illustrious icon painter of seventeenth-century Muscovy. 3 While gathering and preparing his most important works for display, the Gallery staff restored and cleaned one of his most famous and enigmatic icons, "The Icon of the Vladimir Mother of God, with Muscovite Saints," originally dated to 1668, but now 1 "The arrangement of the personages indicates the superiority of the tsardom over the priesthood as well; thus, if the representations of the prelates are positioned below, by the root of the tree, then the medallions with the portraits of the tsars are displayed higher, closer to Christ….
Russian Linguistics, Feb 1, 1980
Ikon, 2016
The Baptism of Christ in its Early Christian representations is rendered with a naked Christ imme... more The Baptism of Christ in its Early Christian representations is rendered with a naked Christ immersed in the waters of the Jordan River with John the Forerunner and attending angels present. In Eastern Christian tradition this representation perseveres until the late 13 th century, when a girded Christ appears in images at Mt. Athos and becomes dominant in Balkan iconography. The girded Christ makes its way to Rus, but aside from some rare frescoes in Novgorod actually ascribed to Serbian artists, the girded Christ is apparently limited to Moscow and its environs. This study attempts to account for the emergence of the girded Christ in Orthodox iconography and to account for its singular distribution in Muscovite Rus.
University of California Press eBooks, Dec 31, 1990
Cambridge University Press eBooks, Sep 14, 2006
Routledge eBooks, Feb 23, 2023
Slavic and East European Journal, 1985
Slavic and East European Journal, 1996
Slavic Review, Sep 1, 1970
Canadian-American Slavic studies =, 2015
The reign of Grand Prince Ivan iii (1462-1505) represented a period of wide-ranging consolidation... more The reign of Grand Prince Ivan iii (1462-1505) represented a period of wide-ranging consolidation of Rusian lands under the aegis of Moscow at the very time that elites were concerned about the Orthodox Christian prediction of an imminent Apocalypse in 1492. The semiotics of Muscovite rulership incorporated references to Jerusalem and the End Times long after the predicted date had passed. The present study analyzes the elements and relationships employed in iconography, architecture, and ritual to reevaluate the capital in light of Jerusalem old and new.
Russian Linguistics, Dec 1, 1974
ABSTRACT Without Abstract
Slavic and East European Journal, 1985
Yale University Press eBooks, Dec 31, 2017
De Gruyter eBooks, Dec 31, 1974
De Gruyter eBooks, Dec 31, 1974